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Charlie carries eleven chairs at a time, and looks like a porcupine. With all the concentration of a hairdresser he combs a bear rug, applies a hair tonic, gives it a finger massage, parts its front hair, and hot-towels its face. At lunch hour, in defense against a comrade partaking of onions, Charlie clears the air with a bellows and dons a helmet, opening the visor just long enough to stuff bread in his mouth. Following the onions the stagehand goes to work on a meaty bone, an end of which projects into Charlie's face. Charlie, sandwiching his end between lids of bread, stealthily munches away. When caught, he imitates a dog.
Other comic business includes a miscuing which plunges Goliath, director, and leading lady down a trapdoor: a strike of stagehands, indignant over having been scolded for napping; by-play with a screen-struck girl in a stagehand's disguise, very convincing until Charlie spies her long hair; and double-entendres as Goliath catches her and Charlie kissing. The giant dances about skittishly, pinches their cheeks, and exits with a soubrette kick. Shortly afterwards the comedy director (wearing a long beard and smoked glasses) offers Charlie a job as an actor, Charlie, in his comedy role, ducks too successfully, and his boss and dignified actors on a neighboring set are hit with juicy pies. There is a chase, whose tempo increases until there is an explosion set by the vengeful strikers. Amid the collapsing sets Charlie and the girl kiss in the final close-up, where Charlie, flouting another convention, winks at his camera audience. (Chaplin often looks directly at the camera for intimate effects.)
Chaplin's next Mutual, "The Rink," a popular and fast-moving comedy, exhibits his agility and grace. In this picture he is a waiter who spends his lunch hours at the roller-skating rink. At one skating session, spinning around gracefully, he observes Edna being annoyed by